talking, or disturbances of any kind, during the singing, and anyone who came in late had to wait until the end of a piece to be seated – rather like modern concert-hall etiquette. Musicians were to rehearse every day, and no music was to be copied or taken away from the area of performance. The music was so closely guarded, at least during the early years of the Académie, that no music of the originating composer – Courville – is known to have survived. The Académie was short-lived, and probably did not survive after 1573, the year of the death of Charles IX. Another similar group, the Académie du Palais, which met at the Louvre after 1573 with the backing of the new king, Henri III, seemed to carry on some of the work of the previous group, but its aim seems to have been more to debate philosophical issues than to reform humanity through reviving Ancient Greek and Latin poetry and music. The activities, if any, of the original Académie after this time are poorly-documented: while the musicians continued to meet, it is not known if they met in a formal setting, as they had prior to the death of Charles IX. This was during a period of increasing religious turmoil, ending in the fighting in Paris in 1589, and the assassination of the king; associations of humanists such as the Académie, which included both Catholics and Protestants, became increasingly difficult (Baïf, a Catholic, even wrote a sonnet in 1572 praising the St. Bartholomew's Day Massacre; Claude Le Jeune, a Protestant, was nearly murdered during the siege of Paris in 1589). Even though the original Académie had faded away within a few years of its founding, several prominent composers found the concept of musique mesurée to be so attractive as to make it their primary compositional method. The most famous of these was Claude Le Jeune, followed by Jacques Mauduit, Eustache Du Caurroy, Nicolas de La Grotte, and Guillaume Costeley. Musical style When musique mesurée first appeared, it was used mainly in French secular songs known as chansons. Most of the chansons written in the style were for five voices, unaccompanied, although instruments began to be used as accompaniment before long. Typically they consisted of a strophe and a refrain; the refrain would have the same music each time it recurred. As composers realized the adaptability of the musical